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Don't get me wrong, your points are very valid for the sort of stuff you do, but pretty much worthless for the sort of stuff I do. |
I think you're sharing the same pov, just not sharing it...
If you're shooting for a feature film, you woudn't be shooting anything that you can't control. That would make no sense indeed. In this type of situation you have time for organising a set/decor, time for re-shoots, ... Why not use it? If you're shooting a live event, no-one expects it to be perfect. That's why it's live, it only happens once etc (that doesn't mean your professional honor will get you to try to make the best possible images of it). You can still make the best of it, but it wouldn't yield the same results as the careful lighting and planning for a feature film would enable you to achieve... |
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Whereas with HD100 (recording to tape), you're stuck with BT.709 colors at the time of recording. You can adjust the colors, sure, but your source material is stuck in that 2.7-million-color space already. Then at the output, your transformed colors have to _again_ be snapped to a BT.709 color. So there's at least two generations of BT.709 color quantization when you acquire in 8-bit BT.709 (like the HD100 and DVDs and HDTV use), whereas film capture -> HDTV or DVD means you only need one generation of BT.709 color quantization. Quote:
If you go through all the possible combinations, it turns out there are only about 2.7 million legal 8-bit BT.709 colors. |
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